摘要
「桎梏」，桎為手銬，而梏為腳鐐，意指為束縛和壓迫之意，就如同作者在2012-2014年，將自己鎖在童年陰影裡，無法走出。本文以作者的內心世界為主軸，先以回溯、記述方式梳理糾結的童年往事對作者成長期間所造成性格陰影，導致自我生命存在的否定。從而以藝術創作深掘誘發正向態度去面對，進而覓得肯定自我的價值關鍵，並透過客觀解析的心路歷程，探討創作與情感抒發的關聯性。 創作形式有平面繪畫及立體表現，以樸素描繪心象及多媒材形塑人物置放瓶罐中，塑造囚禁自我的內在世界，表述情感的自我束縛來自他人認同的壓力，而身處之地如同將不完美的分子所囚禁在內，令人窒息、無法動彈的心牢。透過抽離、重新審視和創作，在與自我對話行進中，使壓抑情感獲得抒發。
並列摘要
“Zhi-gu” (桎梏) is a Chinese compound word that references both handcuffs and legcuffs. In other words, it denotes shackles, or other contraptions designed to restrict or control movement. This concept runs parallel to the author’s own experience between 2012 and 2014, when she held herself prisoner in her own childhood shadow. Consequently, this thesis builds its foundation upon the author’s inner consciousness to retrace and narrate her entangled childhood years and its lasting effect on the author’s own existential affirmation and character development. That being the case, art and its creative process have allowed the author to face her turmoil with a positive outlook as she gradually reaffirms the values of her living-existence. Through a subjective analysis, this thesis aims to draw connections between art and its role as an expressive medium for emotions. The author’s body of artwork is a combination of two-dimensional drawings/painting and three-dimensional sculptures. Works such as simple sketches of mental imagery or mixed-media figurines enclosed in bottles speak to the author’s emotional self-imprisonment amidst the pressure of peer-recognition. The works are containers for imperfect rudiments; it is a suffocating and immobile custody of one’s heart. However, it is also through a distant and careful reexamination of these artworks that the author can release her repressed emotions through ongoing dialogues.